2002

Gleefully Unknown: 1997-2005

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“Whilst shopping from fiffdimension make sure to get hold of ‘Gleefully Unknown’, a best-of compilation of Dave Edwards’ music from 1997 to 2005.   Rough outsider folk-blues mysteries, dissonant rock textures, electric and acoustic improvisations… Edwards strikes me as one of the most overlooked musicians from the fertile lands of New Zealand and if you need a fresh start this might very well be the place.” – Mats Gustafsson, The Broken Face

A compilation of songs, spoken word and instrumentals from the first half of my gloriously unsuccessful career to date… if you enjoy this, try the sequel Fame & Oblivion: 2005-2013

Featuring tracks from the albums

Scratched Surface (1998)

The Marion Flow (2001)

Mantis Shaped and Worrying (2002)

The Winter: Parataxes (2003)

Loose Autumn Moans (2003)

Live 2004 (2004)

After Maths & Sciences (2005)

Mantis Shaped and Worrying

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The difficult third album – recorded during a time of intense introspection in 2002.  I locked myself in my room in Wellington for all of November with an analogue 4-track tape recorder, electric bass, guitars and harmonica and wrestled with the void.

The results rapidly put an end to my promising New Zealand music career!

MSW

Simon O’Rorke played percussion on 

“On the first of the four tracks here, New Zealand experimental musician David A. Edwards spins out these dry verbal expositions of descriptive details in rhythmic and purely compulsive floods, while behind his NZ accented narrative various bloops, noodles and skittering musical sounds are smeared around the canvas. Almost poetry, but often more like verbal textures rather than a focus on the words themselves. His speaking delivery seem purposely emotionless. The second is an instrumental folkish thing that devolves into a battle between squids wearing black rubber raincoats. The third track is sung and perhaps the most “normal” moment here, with a meandering songlike structure and more compulsive verbiage. The fourth and final is almost 24 minutes of narration, swooping bass notes walking through the darkness, clattering spastic percussion, as the words seem to merge film noir dialog with surreal beat poetic train of consciousness.”   – George Parsons, Dream Magazine #5